It's the Viking era. The hero Angantyr has fallen. In his grave, he has taken with him the magical sword Tirfing, a sword that never misses to kill the enemy. His daughter Hervor needs the sword to protect herself from the cruel world of the Vikings. From his grave, Angantyr, who had no sons, demands that his daughter forever must appear as a man in order to retrieve and use the sword. Hervor dresses as the warrior Hervardur, receives the sword, which makes him/her an always unbeatable hero on the battlefields. However, the disguise will eventually prove to be her undoing. A love triangle develops between Hervardur and Vidar, "his" brother-in-arms who, in his way, is in love with Hervor/Hervardur, and Vidar's sister Gullväg, who has fallen in love with the hero Hervardur, not knowing that he, in fact, is a woman. Gullväg is courted by the three kings Gestur, Svasur, and Harald. Encouraged by her father, King Gudmundur, Gullväg asks three riddles to be solved by the courting cavaliers. She will marry the one who can solve them all. But she is, in fact, in love with Hervardur, who succeeds in solving the riddles to Gullväg's joy. However, Hervardur must (for obvious reasons) reject Gullväg, which makes Vidar furious, meaning that this is an unforgivable insult to his family. He therefore challenges Hervardur to a duel, whereupon he is killed by the invincible sword Tirfing. Hervardur is proclaimed an outlaw by King Gudmundur. Brokenhearted, Hervardur tells Gullväg of her true origin and once again seeks out her father's grave, returns the sword Tirfing, and dies.
Pianist Peter Friis Johansson has brought together renowned musicians, including violinist Johan Dalene and soprano Sofie Asplund, for a programme that juxtaposes three generations of Swedish composers. The vocal and chamber works performed here testify to the special place these genres occupy in Swedish art music and to the vitality of musical societies in the early twentieth century, which sparked an interest that went far beyond easily digestible music. Andreas Hallen is the oldest of the composers featured here. His Piano Quartet shows great confidence despite being an early work. Like many composers of his generation, Hallen readily incorporates folk elements. Wilhelm Stenhammar produced an important and varied body of work. His Violin Sonata is a work that reflects the ideals of his German education: it is absolute music without any explicit extra-musical narrative content, a 'synthesis of classicism and sensitive poetry', as his first biographer put it. Sara Wennerberg-Reuter is the least-known of the three, and many of her scores remain unpublished. Stockholm's only female organist with a permanent position, she left behind a varied body of work spanning a wide range of styles. She distanced herself from her contemporaries with a musical style that focused on melody, a commodity she felt had by then become scarce.
From the outset of his career, Jean Sibelius was recognized as an outstanding representative of a musical language perceived as typically Finnish. In Finland, the dawn of the 20th century saw a veritable outbreak of nationally inspired artistic activities., It was a time of cultural and national self-discovery for Sibelius, too. He allowed himself be stimulated by the whole of Finland’s folklore tradition, without resorting to specific examples of folksong.
For many years, Carl Nielsen was viewed outside his native Denmark as the poor cousin of his more famous Scandinavian counterparts, Grieg and Sibelius. Yet his achievements as Denmark’s greatest symphonist of the 20th century were, if anything, even more remarkable than the successes of his geographical neighbors. Nielsen’s symphonic output is some of the most remarkable of its time.
The Norwegian conductor and composer Johann Svendsen was born in 1840 in Christiania (now Oslo). in 1867, he finished his Symphony No. 1, a work that Grieg later described as showing scintillating genius, superb national feeling and really brilliant handling of an orchestra. In 1872 Svendsen returned to Christiania beginning a fruitful period that saw the creation of his Symphony No. 2 in B flat major Op. 15.
Hugo Alfven's First Symphony (1897) has a melancholy Sturm und Drang mood that recurs at intervals in his later compositions, but there is also a life affirming side that flourished in his Second Symphony, two years later. Of his Third Symphony, he stated "it depicts neither concrete nor abstract. It is an expression of the joy of living, an expression of the sun-lit happiness that filled my whole being.”
Wilhelm Stenhammar's Symphony Op. 34 saw the light of day in 1907, dedicating it to “my dear friends, the members of the Goteborg Symphony Orchestra.” He was to remain its chief conductor until 1922. That symphony, which had its first performance under the composer’s direction in 1915, was in fact Stenhammar’s second and is today called Symphony No. 2, even if the composer himself never gave it that number.
Edvard Grieg’s Symphony in C minor, which the composer withdrew, saw scholar after scholar writing about it disparagingly, with much discussion of the its style, all too often based on the question: what are its unoriginal or unsuccessful features? But it was Grieg himself who began the tradition with his admonition that it “must never be performed”. Now, however, very few feel, on moral grounds, that the work should not be performed.
Carl Stenhammar (1871-1927) trained as a pianist, and Brahms’s epic D minor Concerto held no fears for him. His writing for the instrument is accordingly bold and heroic from the outset, as his G minor Sonata from 1890 demonstrates. Held together by Wagnerian leitmotifs but often drawn into Schumannesque dreaming, the four-movement Sonata wears Austro-German passion on its sleeve, and Brahms continued to be a clear influence on Stenhammar’s piano writing in the three Fantasies Op.11 from 1895, but the harmonies are now clearer and more limpid, in the manner of Chopin but also singing with a more native Swedish or at least Nordic accent. Still more Franco-Russian in idiom are the Three Small Pieces from the same year, in the spirit of Grieg’s Lyric Pieces and Tchaikovsky’s The Seasons, each distilling Stenhammar’s individual melodic style within a minute or two. The high point of his solo piano output – as distinct from the mighty Second Piano Concerto which has found a place on the fringes of the Romantic repertoire – is reached with the Late Summer Nights Op.33, a five-movement cycle of concise tone-pictures which ventures into speculative harmonic realms like Fauré’s late Nocturnes, demanding the most refined of responses from the pianist. The Italian pianist Paolo Scafarella is fast becoming a Stenhammar specialist. He has been engaged to record the concertos with the Orchestra Filarmonica Campana in Pagani, near Naples, and he performs in the major halls of his native country. This release marks his debut on Piano Classics.
The great Swedish composer Wilhelm Stenhammar can be heard as accompanist on recordings with John Forsell, and as soloist on a few piano rolls, but never as conductor. However, his successor, Tor Mann was recorded while rehearsing and performing the famous 2nd symphony, and the Serenade, works he himself experienced under the composer's baton as an orchestral cellist. Sixten Eckerberg succeeded Tor Mann, and together with the Gothenburg Symphony and pianist Hans Leygraf, he made the world premiere gramophone records of Stenhammar's important orchestral works. This release explores Stenhammer's heritage through these historical recordings.
It was in 1953, 65 years ago, that Herbert Blomstedt conducted the Gothenburg Symphony for the first time. Since then he has been back on numerous occasions, performing a wide range of works – only not those by Wilhelm Stenhammar. Blomstedt has told of how an international career gave him little opportunity to study and conduct Stenhammar’s music. At the age of 85, however, when he no longer had any obligations as a chief conductor, he thought ‘now or never’ and began to study the composer’s major scores in earnest. And when the time came to perform and record them, what other orchestra could he choose but the Gothenburg Symphony – Stenhammar’s ‘own’ orchestra which he conducted between 1907 and 1922. The works on this album are possibly the finest orchestral music that Stenhammar composed and he gave the premières of both with the orchestra, Symphony No. 2 in 1915 and the revised version of the Serenade in 1920. In fact, he even dedicated the symphony to the members of the orchestra, his ‘dear friends’.
-----
REVIEW:
This is an outstanding disc which all lovers of the music of Wilhelm Stenhammar should hear. I think that both works are new to Herbert Blomstedt’s discography and I’m thrilled not only that he’s now recorded them but also that he’s given us performances of such distinction. And how fitting it is that the orchestra involved should be the Gothenburg Symphony, since Stenhammar was the orchestra’s principal conductor from 1907 to 1922; not only did they give the premiere of the Second Symphony but also Stenhammar dedicated it to the orchestra.
As usual with a BIS release, production values are high. As I’ve indicated already, the recorded sound is excellent and despite the long playing time of the disc I detected no diminution in sound quality. The notes by Tomas Block are very good. BIS have recycled the portion of his note dealing with the Serenade from the Lindberg disc but why not: the note is excellent so why reinvent the wheel?
Considered to be one of the great Nordic symphonies of its time, Wilhelm Stenhammar's Symphony No. 2 in G minor was a long time in the making. Stenhammar the conductor and pianist was a leading figure in the musical life of Sweden and Scandinavia, but in his role as composer he struggled with self-doubt, feeling that his knowledge of musical theory was insufficient. In 1910 he decided to address this perceived shortcoming, and began an intensive study of counterpoint which included setting himself several thousand assignments over the following decade. At the same time, between 1911 and 1915, Stenhammar composed his G minor symphony, and against this background it is hardly surprising that it displays his preoccupation with counterpoint, its final movement a grandiose double fugue. If the symphony is one of Stenhammar’s most celebrated works, his music for Strindberg’s A Dream Play is one of the least-known. It was composed for a production of Strindberg’s existential drama in 1916, a year after the completion of the Symphony. Rarely performed after that, the music was arranged into a concert version in 1970 by Hilding Rosenberg. Christian Lindberg and the Antwerp Symphony Orchestra have previously recorded Stenhammar’s Serenade to critical acclaim.
-----
REVIEW:
Lindberg’s reading of the 2nd Symphony moves with the sense of urgency Stenhammar most assuredly had in mind. The Andante lilts, the Scherzo swings, and he wisely keeps the busy contrapuntal finale bustling along. This glorious release should not be missed.
Stenhammar: Gillet pa Solhaug / Schaefer, Symphony Orchestra of Norrkoping and Choruses
Sterling Records
CD
$37.99Nov 11, 2016
"By chance, been enaged to a small pupil in Richard Andersson's music school in the autumn of 1891. Her name was Signe. Result: Gillet på Solhaug. In his autobiogrpahical sketch from the early 1920's, Wilhelm Stenhammar summarizes, in this way, the origin of the opera Gillet på Solhaug. He was twenty-one years old when he starts the work, but what experience did have have of larger music drama? Stenhammar embraced his inexperience and got to work. One can very well see Stenhammar's Gillet as one of many Nordic endeavors to link the Wagnerian music drama with the national romantic tradition.
Between 1894 and 1916 Wilhelm Stenhammar composed a total of seven string quartets, of which one (F minor, 1897) was withdrawn immediately after its first performance. In Scandinavian music of its time, this series of quartets is unique both in its consistency and in its musical aspirations. Taking its name from the composer, the Stenhammar Quartet with this recording signs off on the first ever complete traversal of the cycle on CD. (The only other previous cycle was recorded in the 1980's by three different ensembles, and did not include the then still unpublished F minor quartet.)
On this final disc, the Stenhammar Quartet performs the Swedish composer’s first two attempts in the genre. The C Major Quartet was composed only a few months after Stenhammar had made a sensational breakthrough with his Op.1, the piano concerto in B flat minor which he himself had premièred as soloist with the orchestra of the Royal Opera in Stockholm. But already two years earlier he had begun a close collaboration with the Aulin String Quartet, and it was for this ensemble that he composed his first quartet, as well as the following four. Like the piano concerto, the C major quartet is influenced by Brahms, whose quartets Stenhammar had been studying, and may to some extent be regarded as a highly promising apprentice work in the genre. In contrast, the String Quartet No.2 in C minor, written just two years later, represents a more independent approach, with a highly imaginative treatment of themes and motifs.
REVIEW:
The Stenhammars conclude the first-ever complete cycle of their namesake's quartets on disc with characteristically energetic and well-explored readings of his first two essays in the genre.
Stenhammar: String Quartets No 5 & 6 / Stenhammar Quartet
BIS
SACD
$21.99Oct 29, 2013
STENHAMMAR String Quartets: No. 5 in C, op. 29, “Serenade;” in f; No. 6 in d, op.35 • Stenhammar Qrt • BIS 2009 (SACD: 65:20)
Here is the Stenhammar Quartet’s second installment in its survey of works for string quartet by the ensemble’s namesake composer, Wilhelm Stenhammar. It follows quickly on the heels of Volume 1, which was reviewed only in the last issue (37:3).
Much of what was said about the previous release applies to this one, and so soon after, needn’t be repeated. If you’re familiar with Stenhammar’s late-blooming Romantic idiom in general, and his string quartets in particular, the three works on this disc further reinforce the composer’s consistency in craftsmanship and style.
The three-way comparison I made last time in reviewing Volume 1 of this cycle, which contained the String Quartets Nos. 3 and 4, was between the Stenhammar, Oslo, and Gotland Quartets. Here, with the Nos. 5 and 6, the comparison is again between the Stenhammer and Oslo Quartets, and this time the Fresk Quartet in No. 5 and the Copenhagen Quartet in No. 6—the record label, Caprice, split the quartets up among three ensembles. So here are the results of the present comparison
Quartet No. 5
Ensemble
I
II
III
IV
Total
Fresk Quartet
5:07
7:30
1:54
4:14
18:45
Oslo Quartet
5:29
7:30
2:26
4:32
19:57
Stenhammar Quartet
5:13
7:29
1:58
4:15
18:55
Quartet No. 6
Ensemble
I
II
III
IV
Total
Copenhagen
7:48
2:44
7:48
6:02
24:22
Oslo Quartet
8:14
3:08
7:53
6:03
25:18
Stenhammar Quartet
7:12
2:44
8:08
6:00
24:04
The outcome is pretty much the same as before. The previous comparison found the Stenhammar Quartet taking a middle-of-the-road approach, tempo-wise, between the slightly quicker-paced Gotland Quartet and the generally slower-paced Oslo Quartet. That conclusion is reaffirmed here, even allowing for the two different ensembles, the Fresk and the Copenhagen, taking the place of the Gotland in the Fifth and Sixth Quartets, respectively. With minor exceptions, the Stenhammar’s timings fall in between those of the other ensembles, and end up closer in total to their Swedish (Fresk) and Danish (Copenhagen) counterparts than to their Norwegian (Oslo) colleagues.
It’s with good reason that Stenhammar’s circa 1910 Fifth Quartet carries the nickname “Serenade,” for it’s an easygoing, genial, breezy, spontaneous-sounding, melodious work that has much in common with Hugo Wolf’s much earlier (1887) Italian Serenade and Dag Wirén’s much later (1937) Serenade for Strings. But, personally, I find Stenhammar’s score prettier than the former and better put together than the latter; and it’s performed by the Stenhammar Quartet’s players with much warmth and affection.
By virtue of its minor key, the Sixth Quartet, dated 1916, is necessarily a somewhat less upbeat-sounding piece, but Stenhammar doesn’t seem to have had it in him to compose a dark, tragic-sounding work. The score frequently veers off into sunnier, major-key climes for lovely, song-filled melodies.
The unnumbered String Quartet in F Minor, date 1897, is an equally engaging piece, which, in its melodic contours and rhythmic patterns, more than occasionally calls Dvo?ák to mind. If you’re just beginning to explore Stenhammar’s string quartet output, I’d strongly suggest you start with this disc. The music is as ear-pleasing and emotionally satisfying as anyone could ask for, and the performances by this outstanding Scandinavian ensemble, complemented by BIS’s vibrant SACD recording, make this an unqualified recommendation.
If there is one Swedish composer in the early 20th century who in some way can compare with Sibelius and Nielsen, it is Wilhelm Stenhammar - incidentally a personal friend of both these towering figures in Nordic music. And in Stenhammar's production - which includes songs, piano music and large-scale orchestral works - his string quartets form a special chapter. The seven quartets (of which one, in F minor, was withdrawn by the composer soon after its first performance) were written over the space of 22 years, and mirror Stenhammar's development, from full-blown Romanticism to a more sparse and formally concentrated idiom. As a pianist, Stenhammar worked closely for many years with the Aulin Quartet, the finest Swedish string quartet of its time. (It was the Aulin Quartet that gave the first performances of all Stenhammar's quartets up to and including No.4 in A minor, Op.25.) His familiarity with the medium is evident in these works which have been described as 'the most important written between those of Brahms and Bartók', but which still remain less well-known internationally than they deserve. In a bid to change this, the Stenhammar Quartet here present the first disc in a trilogy which will include the six quartets published during the composer's lifetime, as well as the F minor quartet - for the first time on disc - and other music for string quartet. Making its first appearance on BIS, the Stenhammar Quartet was formed in 2002 and has made a name for itself in Sweden and internationally as interpreters of Stenhammar's music, as well as of core repertoire and contemporary works.
Wilhelm Stenhammar’s Serenade is unquestionably an orchestral masterpiece, one of two that he wrote (the other being the Second Symphony), and this remains its finest recording. Järvi remade the work for DG, and very well too, with this same orchestra, but as is so often the case the second effort doesn’t quite measure up to the initial outing. In the first place, this performance includes the “Reverenza” movement that Stenhammar later deleted. It’s a charming minuet, and since it’s followed by the Canzonetta, a slow waltz, it’s easy to understand why he decided, however reluctantly, to leave it out. I’m not entirely sure it fits here as the second movement–that means a lot of slow music between the opening Overture and the Scherzo–but it’s still good to have and you can always just skip it if the result turns out to be boring in your opinion.
Second, Järvi offers the most exciting and rambunctious performance of the Scherzo yet recorded. This movement really can and should be a virtuoso extravaganza, and here it has a huge impact, assisted in no small degree by some of the best recorded sound that BIS ever managed in Gothenburg. The rich bass, wide dynamic range, and superb balances permit Järvi and his players to let it rip in thrilling fashion. Add to that a lovely, flowing Notturno and a meaty, muscular finale and the result is one of the glories of the BIS catalog. The Serenade has been lucky on disc, and has received a striking number of fine recordings, but this is the one to own to get to know the work.
